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As one of the most famous religious centers in the Aegean, the island of Samothrace was visited by thousands of worshippers between the 7th century B.C. and the 4th century A.D. All known inscriptions listing or mentioning Samothracian initiates and theoroi (a total of 169 texts) are presented, including a number of previously unpublished fragments.
"The Winged Victory of Samothrace is without doubt one of the most spectacular and accomplished expressions of Greek sculpture from the Hellenistic period. Why, then, restore it now? In spite of its intrinsic beauty, the monument has not been immune to the passage of time and its presentation has been called into question by recent developments in archaeological research. Since it first arrived at the Louvre in 1864, it has been the object of three restoration campaigns. Today, the restoration of an ancient sculpture comprises an encounter with the artistic genius of the ancients; the restoration of a Greek sculpture completed during the nineteenth century necessitates taking the work’s second life into account; the restoration of a masterpiece in the Louvre means bearing in mind the deep affection everyone feels for it. Restoring the Winged Victory of Samothrace involved all three considerations. It seemed imperative that an account of this voyage deep into the heart of the work, this most exhilarating of enterprises, should be revealed to the public. The present work does just that, as well as presenting the monument of the Winged Victory in its ancient setting on the island of Samothrace: in the Sanctuary of the Great Gods where it was dedicated. The book also provides the public with the keys necessary for fully appreciating the Winged Victory of Samothrace and thus building on the viewer’s initial intense emotion. Who is this Victory in virtuoso drapery? Why does she stand on an impressive base in the shape of a ship’s prow? Finally, the book reveals a number of well-hidden technical secrets, which cannot but compel our admiration."--Publisher's description.
In this volume, the key monuments that form the Theatral Complex, including the Theatral Circle, the Fieldstone Building with its masonry style plaster interior, the marble Doric hexastyle Dedication of Philip III and Alexander IV, the elegant Ionic Porch later attached to the western side of the Dedication, and the remains of dozens of bronze statues that originally framed the Theatral Circle, are presented in their archaeological, architectural, and historical contexts. The potential significance of the Complex within the mystery cult, both as the place that initially gave shape to the group of pilgrims undergoing initiation, and as the place where new initiates ultimately departed the Sanctuary, accords the Theatral Complex on the Eastern Hill a central place in the history of ancient Greek sacred space. Actual-state and reconstruction drawings; photographs; and a catalogue of the small finds, including pottery, lamps, terracotta figurines, coins, metal objects, inscriptions, stone objects, and glass, accompany the text.
F.W.J. Schelling (1775-1854) believed he had found, in the ancient initiation rites performed on the Greek island of Samothrace, the information lost to modernity with which to decode the "the original system of belief" celebrated and preserved in the Sacred Mysteries of the ancient Greeks, that is: the Dionysian, the Eleusinian, the Orphic, and the Samo-Thracian. The Sacred Mysteries revered the cosmos as the revelation of divinities communicating through nature. This origin-al revelation illuminates the mystery of the unified spiritual system of nature in which human reality participates. "On the Divinities of Samothrace" (1815) was originally an address delivered to the Bavarian Academy of Sciences, and is counted by scholars as the beginning of the final "existential" phase of Schelling's philosophy. For, the philosophical ground of the sacred teachings is that we exist (ex-sistare) by "standing-out-of" the primal eternally-cyclical nature of the cosmos and into chronological time: a teaching not completely unlike the Amor Fati of Nietzsche's Eternal Return. Thus, this essay invokes the nature of indeterminate pre-history as more original than rational characterizations of time. And, yet, despite the philosophical depth into which Schelling thinks, his essay is strikingly lucid and concise. This publication includes a new translation of Schelling's essay, along with its exposition and discussion, by Frank Scalambrino (2019).